At last, we come to the end of another long awards season. This was the 14th Oscar race that I have been a part of online. In some ways it was different – as a member of the Hollywood Critics and Critics Choice Associations I was able to see a LOT of great movies through generous screeners – and in some ways it was the same – one movie pulled ahead and everyone in favor of the movie was excited and everyone on the other side of the fence counted down the days to the end of the madness. Such is life in the awards blogging stratosphere.
As we draw to a close, I am extremely excited for the opportunity Sasha has given me: not only to continue contributing to this fantastic, dark corner of the web, but also the opportunity to cross a MAJOR event off my bucket list. After 35 years of watching from my living room, I will be attending the 95th Academy Awards in person! Just a kid from Akron, headed to the Oscars for the first time in his life. No biggie, right?
But before the big show comes the predictions. Like last year, I am breaking down the race by tiers. Fans of fantasy baseball/football might be familiar with this type of ranking system. For those less aware, it is pretty simple – a tier ranking system allows you to divide a subject in terms of best to worst, most to least, easiest to hardest – you get the point, right?
With each prediction, I will tell you what I think will win (final prediction), what could win (upset alert!), and what should win (the film/person I feel was the best in their category, regardless of the selection being nominated or not). I will also throw in a stat, fun fact, or analysis with each prediction.
You will hear me reference certain years a few times, so let’s make sure we are all on the same page regarding that. A lot has changed in the 21st century as it pertains to Oscar voting. The biggest change came in 2009 when the Academy switched to the preferential style of voting. For a clearer understanding of what a preferential ballot is, refer to Sasha’s breakdown here. Another big change happened in 2000, when after years of BAFTA taking place after the Oscars, they suddenly moved in front and became a major precursor for Academy results. In 2012, the Screen Actors Guild (SAG) merged with the American Federation of Television and Radio Artists (AFTRA) and became SAG-AFTRA. Another major change has been AMPAS’ initiative to diversify its membership. Per the LA Times, in January 2016, a second year of the #OscarsSoWhite firestorm led the academy to publicly announce an initiative to double the number of women and minorities in its ranks — then about 1,500 and 535, respectively — by 2020. You can read more about the Academy’s efforts to diversify their organization here, but the gist is those who select the awards now look a little different than, say, 20 years ago. As a reminder: 2000, 2009, and 2012 are a few key dates, with recent history weighing in more than ever due to membership diversification.
Let’s have it then.
Hand Them the Oscar Now (Easy tier – aka: don’t overthink it)
Best Visual Effects
Will Win: Avatar: The Way of Water
Could Win: Top Gun: Maverick
Should Win: Avatar: The Way of Water
Stats/Analysis: What should easily be one of the surest bets of the night, Avatar: The Way of Water won the big three precursors for this category: Visual Effects Society (VES), the British Academy Awards (BAFTA), and Critics Choice (CCA). Recent films to win all three awards include The Jungle Book, Gravity, Life of Pi, Inception, and – you guessed it – Avatar. All five films went on to win the Oscar as well. Best Picture nominees rarely lose to non-Picture nominees in this field. Since 1970, the only non-Picture nominee to win Effects over a Best Picture nominee is Ex Machina (2015). So that would leave The Batman and Black Panther: Wakanda Forever as your longest odds to win. All Quiet on the Western Front received a record-breaking 14 BAFTA nominations and went on to win seven awards, including Best Picture. If BAFTA didn’t add Visual Effects to All Quiet’s pile, the odds seem low that the Academy would. Top Gun: Maverick seems to be the only real threat for the Avatar sequel, but that is only based on speculation. Avatar swept the Visual Effects precursors, making this one of the easiest categories to predict.
Best International Feature
Will Win: All Quiet on the Western Front (Germany)
Could Win: Argentina, 1985 (Argentina)
Should Win: All Quiet on the Western Front (though Decision to Leave not being nominated is a crime)
Stats/Analysis: India did not select RRR as its official entry for the Academy Awards. With RRR winning CCA and National Board of Review (NBR), the precursor trail became a little muddy. To add a little to the confusion, Argentina, 1985 surprisingly took home the Golden Globe for this category. But then, clarity! BAFTA’s previously mentioned adoration for All Quiet on the Western Front cleared things up a bit. You also don’t see any other International Film nominee overlapping in Best Picture, right? That should make this a rather easy category to predict.
Fun fact: The Quiet Girl is Ireland’s first nominee for International Film.
Best Animated Feature
Will Win: Guillermo del Toro’s Pinocchio
Could Win: Marcel the Shell with Shoes On
Should Win: Guillermo del Toro’s Pinocchio
Stats/Analysis: Pretty simple sweeper here. Guillermo del Toro’s Pinocchio took the five major precursors for Animated Feature: CCA, Globe, BAFTA, Annies, and – perhaps surprising to think of them as a major precursor in the Animated race – the ACE Eddies. Since the ACE Eddies began awarding Animated Feature films (2009), their winner has matched with Oscar’s Animated Feature winner 12 out of 13 times (The Lego Movie won ACE when the Oscar went to Big Hero Six).
Best Actor in a Supporting Role
Will Win: Ke Huy Quan (Everything Everywhere All at Once)
Could Win: One of the Banshees – Brendan Gleeson or Barry Keoghan
Should Win: Ke Huy Quan (Everything Everywhere All at Once)
Stats/Analysis: The four horsemen of the acting precursopocalypse are the Screen Actors Guild (SAG), BAFTA, CCA, and Globe. Ke Huy Quan took all but BAFTA, where he lost to local boy, Barry Keoghan. While all four precursors have been pretty accurate at forecasting the Supporting Actor Oscar, the Globes have been the most accurate harbinger since 2000 (17/22 winners overlapping with Oscar). But it’s close with the other three – BAFTA (14/22) is the least accurate of the four, just a few misses off. SAG has the longest current streak in Supporting Actor, with the last six SAG winners matching with the Academy’s winner. By far the easiest to predict of the four acting races – don’t overthink this one.
Best Picture
Will Win: Everything Everywhere All at Once
Could Win: The Banshees of Inisherin and All Quiet on the Western Front
Should Win: Everything Everywhere All at Once
Stats/Analysis: Producers (PGA), Directors (DGA), Actors (SAG), and Editors (ACE) have all weighed in and awarded Everything Everywhere All at Once their top honor. While it would have been nice to have the British voting block on board (BAFTA went to All Quiet on the Western Front), this might be one of those years where it won’t be needed. Since 2000, seven movies won PGA, DGA, and SAG (Chicago, Lord of the Rings: Return of the King, No Country for Old Men, Slumdog Millionaire, The King’s Speech, Argo, and Birdman) and all seven went on to win the Best Picture Oscar. Only four of those seven also won BAFTA. So, when that guild trifecta happens, you can take or leave BAFTA. Art Directors (ADG), Costume Designers (CDG), and Hair and Makeup (MUAH) guilds also awarded Everything Everywhere All at Once their top prize. Broad support, indeed, which is never a bad thing on a preferential ballot.
Fun fact: This is the first time that two sequels are nominated for Best Picture (Top Gun: Maverick and Avatar: The Way of Water).
Best Director
Will Win: Dan Kwan and Daniel Scheinert (Everything Everywhere All at Once)
Could Win: Steven Spielberg (The Fabelmans)
Should Win: Edward Berger (All Quiet on the Western Front, not nominated)
Stats/Analysis: The precursors for the Director race split three ways this year: BAFTA went for Berger, who isn’t nominated at Oscar; the Globes went for Spielberg, who feels like the dark horse to win his third directing Oscar; and DGA and CCA went to the Daniels. Since 2000, no precursor compares to DGA in this category. The DGA winner has gone on to win the Oscar 18 times in 22 years. The next highest is CCA (16 times), and the Daniels won both these races. BAFTA (13) and Globes (12) have not been nearly the harbingers the other two have been in that time. The CCA has the longest current streak of forecasting the Oscars with six in a row matching up. The other three are at two in a row after taking Sam Mendes (1917) over Bong Joon Ho (Parasite) in 2019.
The biggest argument for Spielberg might be the fact that Picture and Director aren’t as consistently tied together as they used to be. Since 2000, Picture and Director winners went to the same film 13 times out of 22 and have matched seven of 13 times since the preferential ballot. Could there be some sentiment for the man who now holds the record for producing the most Best Picture nominated films (12) and tied for directing the most Best Picture nominees (13, with William Wyler)?
When in doubt, bet on DGA.
Fun fact: The Daniels are the fourth pair to be co-nominated for Director. The last to do so were Joel and Ethan Coen for No Country for Old Men (2007).
This could go either way (Challenging tier: clear front-runner present, but sneaky underdog exists)
Best Production Design
Will Win: Babylon
Could Win: Elvis
Should Win: Babylon or Guillermo del Toro’s Pinocchio (not nominated)
Stats/Analysis: Babylon is cruising here, winning the Art Directors Guild for Period Film (ADG), CCA, and BAFTA. It’s biggest competition might come in the form of Elvis (where Catherine Martin is nominated) or All Quiet on the Western Front. Babylon went up against those two at BAFTA and still came out victorious, showing some pretty mighty strength. The last 12 winners for Production Design have all been nominated for Costumes as well. Five times in that 12-year span, Production and Costume winners matched up. This year, only Babylon and Elvis are nominated in these two categories. Since moving to the preferential ballot in 2009, 11 of the 13 winners for Production Design were also nominated for Best Picture, but only once in that span did the winners pair up – in 2017, The Shape of Water won Picture and Production Design. Also, since 2009, one of the ADG winners for Period or Fantasy has gone on to win the Oscar for Production Design every year. The Fantasy winner, Everything Everywhere All at Once, is not nominated for Oscar.
Best Cinematography
Will Win: All Quiet on the Western Front
Could Win: Elvis
Should Win: All Quiet on the Western Front or The Batman (not nominated)
Stats/Analysis: What do you do when one of the season’s frontrunners misses out on an Oscar nomination? Claudio Miranda’s camerawork for Top Gun: Maverick was nominated for the American Society of Cinematographers (ASC) top prize (Outstanding Achievement in Cinematography in Theatrical Feature Film) and for BAFTA. He won Cinematography prizes from CCA, NBR, and a slew of other critic’s groups. Miranda was arguably the frontrunner coming into Oscar nomination morning and then – POOF! – he was out of the race. His absence creates an opening for James Friend – who won the BAFTA for All Quiet on the Western Front – and Mandy Walker – who was the only cinematographer to receive nominations from Oscar, BAFTA, ASC, and the British Society of Cinematographers (BSC). Walker – who became the first woman to win ASC – is the third female to ever be nominated for the Cinematography Oscar. If she were to win for Elvis, she would be the first to win in this category.
It’s a close race. Friend’s BAFTA and BSC wins are outstanding in their own right. Nine of the last 10 BAFTA winners for Cinematography went on to win Oscar. Four out of five BSC winners matched with Oscar as well. As the British voting block grows, so does their weight in the Oscar results.
Best Costume Design
Will Win: Elvis
Could Win: Black Panther: Wakanda Forever
Should Win: Elvis
Stats/Analysis: BAFTA is once again the best bellwether for predicting Oscar, overlapping winners 12 times in the last 14 years, including the last three. Elvis won BAFTA. Black Panther: Wakanda Forever looks like the biggest competition for Elvis, winning CCA, which has an equally impressive run going in Costumes. CCA has matched Costume winners with Oscar 11 times in 13 years, including four of the last five.
The tiebreaker here might come from the Costume Designers Guild (CDG), where Elvis won the award for Period and Black Panther: Wakanda Forever lost the award for Fantasy to Everything Everywhere All at Once. If this was as close as we think it might be, shouldn’t Wakanda have won there? In 2018, Black Panther won the Oscar – and the CDG – for Costume Design. Might AMPAS reflect the CDG decision to recognize something new this go around?
Best Original Screenplay
Will Win: Everything Everywhere All at Once
Could Win: The Banshees of Inisherin
Should Win: The Banshees of Inisherin
Stats/Analysis: In the era of the preferential ballot, the Best Picture winning film won Best Screenplay (Adapted or Original) 10 times in 13 years and was nominated for Screenplay all 13 years. Banshees took BAFTA, where they have matched with the Oscar for Original Screenplay seven times in that stretch (13/22 since 2000). Everything Everywhere All at Once took CCA, where they have matched with Oscar ten times since 2009. Everything Everywhere All at Once took the Writers Guild (WGA) prize, where their winner paired up with the Oscar seven times. However, Banshees was not eligible at WGA, so that makes it a hard group to measure.
Since 2000, the Best Picture-winning film has won a total of 4.4 Oscars on average. That number drops to 3.6 since 2009. Not a whole lot, right? AMPAS has really spread the love around over that period, so might they hand Banshees the award for Screenplay to prevent it from potentially going 0-9 on the night?
Best Sound
Will Win: Top Gun: Maverick
Could Win: All Quiet on the Western Front
Should Win: All Quiet on the Western Front
Stats/Analysis: If you are sensing a theme about BAFTA vs The World, then you are correct. Once again, BAFTA goes one way while the industry guilds go another. In the case of Sound, BAFTA handed their prize to All Quiet, while the sound mixers (CAS) and sound editors (MPSE) went with Top Gun: Maverick. It should be noted that yes, MPSE also gave an award to All Quiet (Outstanding Achievement in Sound Editing – Feature Foreign Language), but that is a bit of a niche category. The big award MPSE hands out is MPSE Sound Effects and Foley for Feature Film, which went to Top Gun: Maverick. The winner of MPSE’s main prize has gone on to win a Sound Oscar 14 times since 2000. Meanwhile, the CAS main prize has matched 12 times in that 22-year stretch, including the last five. BAFTA has an even more impressive track record, with 18 matches since 2000, including 14 of the last 15, and six straight common winners. That is pretty damn elite.
What is the case for taking CAS/MPSE over BAFTA? Film Editing. Since 2009, the Oscar winner for Film Editing has been nominated for Sound every year. That might sound more like a stat for the Film Editing race, but when you consider that an astonishing 10 times out of 13 years the Editing winner also won Sound, it changes that stat to be one for both categories. Film Editing and Sound are married. The only films nominated for both Editing and Sound? Top Gun: Maverick and Elvis.
Moreover, the winner for Sound has been nominated for Picture all 13 years since 2009. Only a win from The Batman would end that streak this year. In that time, when the winner for Sound is also nominated for Visual Effects, the winners match five out of six times. This year, the only film nominated for Editing, Visual Effects, and Sound – Top Gun: Maverick.
Best Makeup and Hairstyling
Will Win: Elvis
Could Win: The Whale
Should Win: All Quiet on the Western Front
Stats/Analysis: Let me just say right out front that aside from Michelle Yeoh, the award I am rooting hardest for is Heike Merker and Linda Eisenhamerová to win in this category for their incredible work on All Quiet on the Western Front. If only BAFTA had pushed them out front a bit with a win. Instead, the British vote went to Elvis, which also took home CCA for the category. Out of the last 17 BAFTA Makeup winners, 12 went on to win Oscar, including four of the last five. CCA is fairing a tad closer to Oscar, matching up six times in seven years, including the last five. The Make-Up Artists & Hair Stylists Guild (MUAH) prize for Best Period and/or Character Make-Up is their prize that most often matches with Oscar. This also went to Elvis. A trifecta for Elvis with major precursors.
Then why can’t I shake the feeling that The Whale has a very good chance to upset on Sunday night? Perhaps it’s because this category often rewards “most” over “best.” Just look at the last few winners in this category: The Eyes of Tammy Faye, Ma Rainey’s Black Bottom, Bombshell, Vice, and Darkest Hour. Lots of bodysuits in conjunction with prosthetic makeup. While Elvis features a bit of this as well, The Whale is wholly made up of this approach. In the end I am going with the team behind Elvis – Mark Coulier (two-time winner), Jason Baird, and Aldo Signoretti (four-time nominee) – to take home the prize.
Oscar Pool Winners (Expert tier: this is where you will separate yourself from your rival Oscar predictors. Many of these categories have more than two possible outcomes)
Let’s get the Short Film categories out of the way first, shall we?
Best Live Action Short Film
Will Win: An Irish Goodbye
Could Win: It’s the shorts – any of the other four
Should Win: The Red Suitcase
Stats/Analysis: Go with God.
Best Animated Short Film
Will Win: The Boy, the Mole, the Fox and the Horse
Could Win: It’s the shorts – any of the other four
Should Win: An Ostrich Told Me the World Is Fake and I Think I Believe It
Stats/Analysis: Break a leg!
Best Documentary Short Subject Film
Will Win: Stranger at the Gate
Could Win: It’s the shorts – any of the other four (The Elephant Whisperers seems to be the consensus bet)
Should Win: How Do You Measure a Year? or The Martha Mitchell Effect
Stats/Analysis: Thoughts and prayers.
Best Actor in a Lead Role
Will Win: Austin Butler (Elvis)
Could Win: Brendan Fraser (The Whale) or Colin Farrell (The Banshees of Inisherin)
Should Win: Felix Kammerer (All Quiet on the Western Front, not nominated)
Stats/Analysis: Butler and Farrell split at Globes. Then Butler took BAFTA where Farrell was thought to win. That British vote of support for Elvis and Butler is what makes me lean his way over Fraser, who won SAG and CCA. BAFTA also has the best recent track record with this category, with eight BAFTA winners in a row repeating at Oscar. BAFTA was the only major precursor to award Anthony Hopkins for The Father, and we all remember how that worked out on Oscar night. The tipping point for me, though, is that Butler stars in a Best Picture nominated film, while Fraser does not. Jeff Bridges (Crazy Heart) was the last actor to win Lead at the Oscars whose film was not a Best Picture nominee (2009). That’s 12 in a row! Good enough for me.
Best Documentary Feature
Will Win: Navalny
Could Win: Fire of Love
Should Win: The Quiet Epidemic (not nominated)
Stats/Analysis: One of the harder races to call has two front-runners at the top. Navalny took home BAFTA and PGA, while Fire of Love won DGA. But the most accurate precursor of all for Best Documentary comes from, surprisingly enough, the Editors Guild (ACE). Since 2000, the ACE Documentary winner went on to win the Oscar 14 times, including eight of the last ten. Both films were nominated for ACE, but Fire of Love came away with the win. You’d be smart to think Fire of Love will do the same at Oscar. I just can’t get around the fact that Navalny is the doc that captures the moment the most. Will the extremely liberal Academy be able to pass on a chance to honor a doc about a man who survived an alleged Putin-directive assassination? I am going with the Academy being swept up in the war in Ukraine, but with very little confidence.
Best Film Editing
Will Win: Everything Everywhere All at Once
Could Win: Top Gun: Maverick
Should Win: Everything Everywhere All at Once
Stats/Analysis: Everything Everywhere All at Once has won awards for editing everywhere it mattered – BAFTA, CCA, and ACE. So why does this feel like a trap category? Ah, that’s right… Film Editing and Sound are married. In my Sound analysis, I mentioned that since 2009, the Oscar winner for Film Editing has been nominated for Sound every one of those years. Thirteen in a row. And 10 of those times the Editing winner also won Sound. Top Gun: Maverick and Elvis are the only films nominated for both Editing and Sound, so a prediction here for Everything Everywhere All at Once is bucking one of the best statistical streaks we have going now. A divorce was bound to happen, right? A stat is a stat until it isn’t.
Best Original Song
Will Win: “Naatu Naatu” Music by M.M. Keeravaani; Lyric by Chandrabose (RRR)
Could Win: “Hold My Hand” Music and Lyric by Lady Gaga and BloodPop (Top Gun: Maverick) or “Lift me up”
Music by Tems, Rihanna, Ryan Coogler and Ludwig Goransson; Lyric by Tems and Ryan Coogler (Black Panther: Wakanda Forever)
Should Win: Flip a coin on those three. All great in different ways, but I think I’d give my vote to Lady Gaga’s passionate ballad.
Stats/Analysis: The Globes and CCA are the only two major precursors that recognize Song, and they have zero overlap with Academy members. While RRR’s catchy “Naatu Naatu” won both of those prizes, it is from a film that failed to garner a singer other nomination. Since 2009, only three films have won this category without another nomination – “(I’m Gonna) Love Me Again” from Rocketman (2019), “Writing’s On The Wall” from Spectre (2015), and “Man Or Muppet” from The Muppets (2011). None of those films were up against a Best Picture nominee when they won. “Naatu Naatu” is up against two Best Picture nominated films (Top Gun: Maverick and Best Picture frontrunner Everything Everywhere All at Once). In 2020, “Io sì (Seen)” from The Life Ahead won Globes while “Speak Now” from One Night in Miami… won the CCA. Neither movie was nominated for Picture, and both lost to “Fight For You” from Judas and the Black Messiah – you guessed it, a Best Picture nominee. As much as many might make you believe “Naatu Naatu” has this in the bag, I think this is a difficult race to call.
Best Actress in a Leading Role
Will Win: Michelle Yeoh
Could Win: Cate Blanchett
Should Win: Both are equally deserving and give the two best performances of year. Because Cate has two, I think I’d lean Michelle if I had a vote…
Stats/Analysis: …And that’s the sentiment I’m hoping most voters will have as well. Because there really is no other logic to this prediction. Both star in films up for Best Picture. Cate took CCA and BAFTA, Michelle took SAG, they both won Globes. In recent years, BAFTA has foretold this race better than any other precursor – eight of the last nine BAFTA winners won Oscar. But both SAG and BAFTA are eight for ten since the SAG-AFTRA merger in 2012. It’s basically a dead heat. Give me the one who has yet to win an Oscar as the tiebreaker.
Best Original Score
Will Win: All Quiet on the Western Front
Could Win: Babylon
Should Win: Babylon – Justin Hurwitz’s work is absolutely sensational.
Stats/Analysis: This race is all over the place! All Quiet took BAFTA. TÁR (not nominated) took CCA. Babylon took Globes. Everything Everywhere All at Once is the Best Picture frontrunner. The Fabelmans is composed by the GOAT of all maestros, John Williams (who at 91, becomes the oldest-ever Oscar nominee with his 53rd career nomination). The Banshees of Inisherin might not have won much, but it’s a lovely score, too. So which way do we go?
If looking at BAFTA vs Globe history, it’s fairly even. The BAFTA winner for Score has won the Oscar 13 times in 22 years. Globe has done just slightly better, matching 14 times in that stretch. Both have matched with Oscar six out of the last seven years, including the last three each.
Since 2000, 19 of the 22 Score winners’ films were nominated for Best Picture. All Quiet is nominated for Best Picture, Babylon is not. In the end, you must settle on a reason to choose which half of the split hair you are betting on. I’ll hedge my bet emotionally and go against one of my favorite people in the industry.
Best Adapted Screenplay
Will Win: All Quiet on the Western Front
Could Win: Women Talking
Should Win: All Quiet on the Western Front
Stats/Analysis: Again we have a battle of BAFTA (All Quiet) vs CCA/WGA (Women Talking). Add the USC Scripter – a prize honoring scripts adapted from other work – to Women Talking, and you would think it will be a tough one to beat, right? Not so fast! From 2010-2017, the Scripter enjoyed an eight-year run overlapping with the Oscar winner for Adapted Screenplay. Since then, the precursor has gone 0-4. WGA is once again no help, as All Quiet was ruled ineligible. So in both Screenplay races, the WGA keeps us from pitting the two frontrunners against each other. CCA hasn’t been worth a damn in this category (as far as forecasting Oscar goes), lining up with Oscar only four times since 2009, and follows Scripter with an 0-4 in recent years. Conversely, BAFTA has been rather strong here, matching Oscar six of seven years, and forecasting the last five years 100%. All Quiet is nominated for nine Oscars, while Women Talking managed just two nominations. It is clear which film they like more, and I’ll bet on the British voting block to prevail in this race.
Best Actress in a Supporting Role
Will Win: Kerry Condon (The Banshees of Inisherin)
Could Win: Jamie Lee Curtis (Everything Everywhere All at Once) or Angela Bassett (Black Panther: Wakanda Forever)
Should Win: Anyone from the cast of Women Talking (not nominated)
Stats/Analysis: Quite possibly the hardest race to call. Three legitimate frontrunners here. Jamie Lee Curtis has SAG, which has matched with the Lead Actress Oscar 17 times since 2000, including nine out of ten since the SAG-AFTRA merger. Kerry Condon won BAFTA, which is one shy of SAG regarding overlap with Oscar winners since 2000.
Angela Bassett is the first actor from a Marvel movie to be nominated for Oscar. She is also only the fourth Black actress to be nominated for multiple acting Oscars. Bassett took Globes and CCA, which have matched in five of the last six year and 12 of the last 13 years, respectively. However, the prizes Bassett won have zero overlap in Academy membership.
Curtis and Condon have the advantage over Bassett in two ways – the lack of Academy voters in the prizes Bassett won and the fact that hers is the only one of the three not tied to Best Picture. If Curtis, Yeoh, and Quan win acting prizes and Everything Everywhere All at Once wins Picture with them, it will be the first Best Picture winner to have three acting wins on the night. Seems highly improbable, but just how much love is there for Everything Everywhere All at Once? We will find out with this category.
There it is. The 14th annual Oscar predictions manifesto is completed (and in just under 4800 words!) Thank you all for engaging with me on here and on social media (@marklikesmovies), and for reading my work this year.
What are your thoughts on the race? Which of my predictions do you agree/disagree with?